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A chance to see longer works or those that take to a bigger screen, an opportunity to further explore outstanding works selected from the Visions world-wide open call.

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For the first time, Visions presents special Saturday screenings, presenting works on the gallery’s main screen at 3pm on Saturday afternoons.

Dana Berman Duff (USA)Catalogue Vol.6 11’30” 2016

Catalogue Vol.6 (16mm film on digital scan) was shot using an RH Interiors catalogue whilst playing audio clips from a horror movie that mentions words relating to a house – such as names of rooms or parts of the house – giving each shot a random soundtrack. The film clips were then organised as a tour through the rooms of a house: foyer, living room, dining room, kitchen, study, bath, ending at the bedroom. The result is an eerie tour of a space surrounded in mystery and dark possibility, never quite finding a narrative or climatic reveal.

Tessa Garland (UK)Here East 5’47” 2017

Here East is set on a new housing development in east London. It observes the space as day slips into night. The video starts with vignettes framing figures on balconies set against luminous skies; on one balcony a woman is caught gazing out into the sublime sky and at another a shopping trolley is parked up empty.

The meditative quality is interrupted by reminders that this place is a controlled space with CCTV cameras and intercom door systems. As the sun fades, lights go on, the camera witnesses both the empty order of the surrounding area and the activity within the flats. Lit windows expose partially obscured people caught by the distraction of media and flickering screens.

Using a zoom lens and filmed undercover the work reveals a corporate, residential space where human activity is monitored and where at any time a private security guard can remove you for using your camera.

Kym McDaniel (USA)Exit Strategy #1 6’55” 2017

My desire to acclimate after an injury proves impossible. I start unravelling the aftermath and realise my pain has dissociated me not only from my mind, muscles, and bones, but from the world. A nod towards Christine Miserandino’s Spoon Theory of chronic illness. The first in a series examining how I dissociate in order to cope with emotional and physical trauma.

Kym McDaniel

Janelle VanderKelen (USA)Clara 6’ 2016

In Clara the repetitive motions of the canning process quietly remap the accreted horrors of female labour, intervening this process with the lifespan of a vegetable arrested in forever-summer. A circuitous wandering explores this process and confuses conceptions of time and space as seasons accumulate into undifferentiated years of feminine relation to, and reinvention of, the natural growth cycles. The physical constraints of the domestic and embodied architectures are eventually completely subverted by the excessive act of preservation.